53 pages • 1 hour read
Steve CavanaghA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Ruth and Scott spend six weeks in a hotel room as Ruth attempts to heal physically and mentally. Her dreams are haunted by memories of her attack, and she spends her days in the hotel room waiting for Scott to return. Because her attack occurred on September 14, she associates it with the September 11, 2001 (9/11) terrorist attacks. Ruth attempts to leave the hotel room to use a vending machine in the hall, propping the door open with a Patricia Highsmith book, but has a panic attack when a man walks up behind her.
Three days after meeting Wendy, Amanda can no longer resist the temptation to research her case. She discovers that Wendy’s real name is Naomi Cotton, and that the man accused of killing her daughter is Frank Quinn. She also learns that Naomi was arrested for harassing Quinn, but the charges were dropped. Amanda continues to stalk Crone, determining that he has a weekly therapy appointment. She realizes she can never let her anger go, and texts Wendy to meet up, an idea brewing in her head.
Ruth turns to find an old man behind her and Scott behind him, and faints. When she wakes, she is embarrassed but grateful that Scott protected her. Ruth and Scott are visited by Farrow and Hernandez, who are horrified to learn she hasn’t left the hotel room in six weeks. The detectives reveal that the attacker likely stalked her for weeks before attacking and that they have no suspects. Ruth rejects their suggestions that she go to therapy, insisting she won’t feel safe until the attacker is caught.
Farrow and Hernandez leave the hotel feeling guilty about Ruth’s obvious distress. Farrow can’t understand how the attacker, whom police have started to call Mr. Blue Eyes, is able to attack his victims without leaving any forensic evidence. He suggests that Ruth will never recover from the trauma of being attacked in her home. Hernandez says she would find and kill the attacker if she were in Ruth’s position. When Farrow presses, Hernandez confirms she’d kill someone she knew was guilty even if cleared by a jury. Farrow compares Ruth’s attacker to Crone.
Over drinks, Amanda reveals to Wendy that she tried to kill Crone. Wendy admits that she has fantasized about killing Frank Quinn. The women agree that they cannot begin to heal while the perpetrators are free. Amanda suggests that they help each other develop plans to kill the men who killed their daughters. Wendy notes that she would be an immediate suspect of Quinn was killed, and suggests that they swap murders, citing the Hitchcock movie Strangers on a Train as an example. Amanda agrees. Wendy tells Amanda to use her real name, Naomi.
Scott visits the office of the district attorney (DA) to discuss Ruth’s case. As a law student, he loved clerking with the DA: Convicting criminals had felt like getting revenge on his childhood bullies. After graduation, he joined corporate law in order to make more money for Ruth. Now, he wants revenge again. The assistant district attorney dismisses Scott’s complaints against Farrow and Hernandez, insisting that they’ve done all they can and implying the case is unsolvable. Scott leaves devastated, and begins to consider taking revenge on his own.
A week later, Ruth agrees to leave the hotel room in order to have dinner in the hotel restaurant with Scott. Scott arranges for the couple to sit in a corner of the restaurant where Ruth’s back is against the wall. He tries to engage in normal conversation, but Ruth suggests that her life might never go back to normal. Suddenly Ruth sees a man with blue eyes who she believes to be her attacker. When he calls the waitress “sweetheart,” she panics and runs to the bathroom, Scott following her.
Three days after her night with Naomi, Amanda anxiously attends her bereavement group meeting. She has not heard from Naomi since they promised to kill for each other, and wonders if Naomi is panicking and regretting what she said. Amanda’s revenge fantasies are all that sustain her, and she resolves to kill Crone herself if necessary. The next day, Amanda waits for Crone on his commute, but doesn’t see him. While waiting outside his office, she sees Naomi, who reveals that she killed Crone while Amanda was at the meeting. Naomi tells Amanda to reciprocate.
When Scott asks if Ruth is sure she’s spotted the attacker, Ruth reminds him that she is the only one who saw his face. Scott is visibly wounded by the reminder that he wasn’t there to protect Ruth. As the couple leaves the restaurant, the blue-eyed man looks directly at Ruth, causing her to panic. In their hotel room, Ruth suggests that they call the police, but Scott insists that the police won’t do anything. He gives Ruth sleeping and anxiety pills, and leaves to investigate the stranger. Ruth tells him to be safe as she passes out.
Naomi explains that she entered Crone’s building dressed as a sex worker minutes after an actual sex worker left. She pepper-sprayed Crone as he opened the door then forced her way in and stabbed him repeatedly. Amanda is horrified and relieved, and feels like she can sense that Crone has died. Naomi tells Amanda that she needs to reciprocate and kill Quinn immediately, before police find Crone’s body and put pressure on her. Amanda hesitates, but Naomi insists that men like Quinn and Crone cannot be rehabilitated. She argues that she deserves the same relief Amanda now feels.
Once Ruth is asleep, Scott returns to the restaurant on the pretense of adding a tip to their check. He spots the blue-eyed man and waits for him outside of the restaurant. When the man leaves, Scott follows him into the elevator. As he’s leaving, the blue-eyed man tells Scott that he hopes his wife feels better soon, and calls her a sweetheart. Scott becomes convinced that Ruth is right and that the blue-eyed man is the attacker. He follows the man down the hall and attacks him with a bottle of champagne left outside one of the rooms.
In this section of the novel, Cavanagh makes explicit references to Patricia Highsmith’s 1950 novel Strangers on a Train and Alfred Hitchcock’s 1951 film adaptation by the same name creating a metafictional layer in the story that establishes a connection between Kill for Me, Kill for You and its inspiration, while also building anticipation for the ways in which Cavanagh’s story will diverge from the previous versions. Strangers on a Train follows two men—Guy and Bruno—whose lives become intertwined when Bruno suggests they kill for each other. Bruno offers to kill Guy’s unfaithful wife in exchange for the murder of his own father, arguing that, because the men are unknown to their victims and have no motive, they cannot be caught. In Highsmith’s novel, Guy initially refuses to cooperate but eventually kills Bruno’s father after receiving threatening letters from Bruno. In the Hitchcock film, Guy reluctantly agrees to the plan in order to be rid of his wife but ultimately cannot bring himself to murder Bruno’s father.
Cavanagh uses both direct and indirect allusions to Strangers on a Train to set up the central engine of the plot: the murder-swap. When Ruth attempts to leave her hotel room for the first time since being attacked, she props open the hotel door with a “Patricia Highsmith novel,” placing the book “at the base of the frame so the door couldn’t close” behind her (70). Although Cavanagh does not name Strangers on a Train directly, the reference allows readers of Kill for Me, Kill for You who are well-versed in classics of the mystery genre to make the association, connecting it to the title of Cavanagh’s novel. The subtle, indirect reference acts as a nod to Highsmith’s place in the pantheon of mystery writers and acknowledges Cavanagh’s use of the murder-swap trope, which Highsmith’s novel originated. Cavanagh moves into direct references when Wendy/Naomi asks Amanda whether she ever watches “Hitchcock movies [like] Strangers on a Train?” (92). Wendy/Naomi’s suggestion of the murder-swap positions her as the Bruno figure, foreshadowing the reveal in Chapter 49 that she and Ruth are one and the same. Although Amanda begins “smiling and nodding” at the idea of swapping murders, the specific reference to Hitchcock’s adaptation hints that Amanda, like her movie counterpart Guy, may ultimately be unwilling to fulfill her end of the bargain. Cavanagh’s repeated references to Strangers on a Train in its novel and film forms serve to both acknowledge his inspirations and foreshadow future revelations.
In Ruth’s plotline, Cavanagh focuses on Ruth’s attempts to heal from the trauma of her home invasion and her growing mental crisis, reflecting the novel’s thematic interest in The Lasting Effects of Traumatic Experiences, which radiate beyond Ruth to affect her husband and investigating detectives Andrew Farrow and Karen Hernandez. Ruth’s trauma forces her to relive her attack day and night: “[S]he [can’t] get that man’s face out of her head, and he [is] there every night in her dreams” (67). Ruth’s fears cause her to lose her sense of time, and before she knows it “six weeks [have] gone by” since the attack (67). These passages suggest that Ruth’s trauma makes it impossible for her to move beyond the traumatic experience of the home invasion, raising the dramatic stakes of the plot. Cavanagh establishes triggers for Ruth such as the word “sweetheart” and the attacker’s blue eyes that cause her disabling panic and anxiety consistent with symptoms of post-traumatic stress disorder (PTSD).
Ruth’s experiences demonstrate the ways in which PTSD can prevent survivors from moving past a single traumatic moment. Ruth’s growing anxiety and despair also affect her husband, Scott, who becomes consumed with thoughts that if he hadn’t “left Ruth alone” that night, he “could’ve stopped [the attack]” (130). Scott’s fears lead him to attack a stranger, demonstrating the compounding effects of PTSD not only on survivors, but also on their families and loved ones. Scott’s confrontation with the police department who describes Ruth’s case as “unsolvable” underscores The Limitations and Implicit Bias of the Criminal Justice System as a central theme in the novel and establishes both Ruth and Scott’s desire to pursue extralegal vengeance.